Concerts!Thank you for joining our community and giving me such support! Please be sure to forward this newsletter to your friends. Click the picture below to view my winter newsletter video! 
It may not be snowing where we are, but I am feeling the spirit of the holidays as much as ever this year. It has been an incredible year worth celebrating, the crown jewel of which was my debut as La Traviata. After the New Year, there will be a great concert cleanse…no opera for three months! First is a recital in New York City with my dear friend John Churchwell at the piano. Then my upcoming concerts include the Faure Requiem, the Brahms Requiem, Bach’s St. Matthew Passion, and Mahler’s 8th Symphony. I’m so looking forward to singing this repertoire with these incredible orchestras, read on for details! |
 | Recital Park Avenue ArmoryIn collaboration with John Churchwell at the piano, Lisette performs a program of Spanish art songs as well as works by Schubert and Schumann. This intimate recital takes place at the newly renovated and beautiful Board of Officers Room. January 12, 13 Park Avenue Armory New York, NY More Information » |
 | Faure Requiem Accademia Nazionale di Santa CeciliaThe Orchestra dell’Accademia Nazionale di Santa Cecilia was the first orchestra in Italy to devote itself exclusively to symphonic repertoire, giving premieres of major masterpieces of the 20th century such as Respighi’s Fountains of Rome and Pines of Rome. Program: “Il secolo breve” Debussy Prélude à l’après-midi d’un faune Schönberg Concerto per violino Fauré Requiem January 23, 25, 26 Accademia Nazionale di Santa Cecilia Rome, Italy More Information » |
 | Ein deutsches Requiem Baltimore Symphony OrchestraJ.S. Bach: Orchestral Suite No. 3 Brahms: Ein deutsches Requiem Written after the passing of both his mother and close friend Robert Schumann, Brahms’ deeply personal and compelling A German Requiem gives eloquent comfort to the grieving. Opening the program is Bach’s third orchestral suite featuring “Air,” one of the most famous movements in Baroque music. March 04, 05, 06 Joseph Meyerhoff Symphony Hall Baltimore, MD More Information » |
 | Mahler Symphony No. 8 Philadelphia OrchestraOn the 100th anniversary of that pivotal moment in Philadelphia Orchestra history, Yannick Nézet-Séguin again marshals the tremendous forces needed to present this unparalleled work, which also embodies the Philadelphia Sound. Joining Nézet-Séguin on the Verizon Hall stage for four centenary performances (March 10-13) will be approximately 400 singers and instrumentalists, including the musicians of The Philadelphia Orchestra, the Westminster Symphonic Choir, the Choral Arts Society of Washington, the American Boychoir, and eight soloists: sopranos Angela Meade, Erin Wall, and Lisette Oropesa; mezzo-sopranos Stephanie Blythe and Mihoko Fujimura; tenor Anthony Dean Griffey; baritone Markus Werba; and bass John Relyea. March 10, 11, 12, 13 Kimmel Center: Verizon Hall Philadelphia, PA More Information » |
 | St. Matthew Passion Strasbourg PhilharmonicDebuted in Leipzig on Good Friday of 1736, the St. Matthew Passion is considered by Bach himself as his most important work. One in whom he sees his "Great Passion" in comparison with the no less sublime St. John Passion, is a major religious work. Built on a high-flying literary dialogue, which blends excerpts from the Gospel to the comments of Martin Luther and Picander, the author of many of his books, this work-world aims to provide answers to questions arises humanity over his own destiny. March 24, 25, 16 Palais de la Musique et des Congres Strasbourg, France More Information » |
Videos from Rigoletto at the Teatro Real! VideosTeatro Real was kind enough to release a couple of videos from our performance of Rigoletto! Rigoletto - 'Caro nome'Aunque el éxito del estreno de #Rigoletto fue incontestable, no todos los críticos coincidieron. 'La Revue et gazette musicale de Paris' apuntó: “Al buscar la sencillez, Verdi ha caído en la frivolidad. En otras óperas ha conseguido ocultar la pobreza de ideas con pomposas descargas instrumentales, pero 'Rigoletto' es la ópera más débil de Verdi, la más carente de melodías y tendrá una vida brevísima”.Lisette Oropesa interpreta 'Caro nome' como Gilda. 'Rigoletto', en el Teatro Real hasta el 29 de diciembre. bit.ly/1GYbtJd Posted by Teatro Real on Wednesday, December 23, 2015 Rigoletto - 'Lassu... in cielo''Rigoletto' es una tragedia sobre la injusticia social y la desigualdad, ambas evidentes tanto en el personaje principal de 'Rigoletto' (el bufón jorobado, típico personaje verdiano que se mueve entre el afecto por su hija y el odio hacia el duque y los cortesanos), como en la representación explícita del estilo de vida lascivo y licencioso de la nobleza. Pero también es un intenso drama de pasión, engaño, amor filial, venganza y asesinato, que combina perfectamente la riqueza melódica y la fuerza dramática tan características de las obras mayores de Verdi. Compartimos un fragmento del final del Acto III con Lisette Oropesa y Luca Salsi como Gilda y Rigoletto. bit.ly/1GYbtJd Posted by Teatro Real on Friday, December 4, 2015 Caro Nome and Lassu... in cielo » |
Codalario Interview InterviewI had the pleasure to be interviewed by Codalario! The entire interview is in Spanish but please check it out! Nunca se sabe cómo va a evolucionar una voz No, yo soy una soprano lírica de coloratura. Es posible que me quede así toda mi vida. Depende de mis hormonas, mi cuerpo… No soy una coloratura pura, no vivo cómoda en el registro más agudo. Tengo buenos agudos, pero no canto Lakmé o Zerbinetta porque no tengo el mi. Sí tengo el mi bemol, que es una nota que está en Rigoletto, al final de “La Vendetta”, y también en La traviata o La hija del regimiento. Codalario Interview » |
Einspringen! Bayerische Staatsoper Gilda and Konstanze!While I was in Madrid rehearsing for Rigoletto, the Bayerische Staatsoper had two cancellations in a week! I was truly honored that they called me! More Information » |
OPERA NEWS - La Traviata • Oct. 14, 2015 To judge from her first attempt at the role (heard Oct. 9), Lisette Oropesa bids fair to be among its great exponents in her generation. Oropesa manifested secure technical chops—trills, staccati, pinpoint dynamics and—most impressively—a long, sustained line that allowed her to hold the audience breathless in both “Dite alla giovine” and the party scene ensembles. Her quicksilver tone aptly combined appealing girlish purity with lightly charged sensuality. David Shengold • Opera News |
La Traviata • Oct. 7, 2015 It will be remembered as a 'were you there the night' soprano Lisette Oropesa made her debut as Violetta in "La Traviata." At the end, when the curtain closed and came back up on Oropesa standing alone on the stage, the whole Academy audience bounded to its feet, shouting and lustily applauding for after her spellbinding performance in one of the most vocally and emotionally demanding roles in all of opera. Lewis Whittington • EDGE Pittsburgh |
MÜNCHEN/ Bayerische Staatsoper: RIGOLETTO • Nov. 20, 2015 Für die erkrankte Patricia Petibon übernahm dankenswerterweise kurzfristig Lisette Oropesa die Rolle der Gilda, die sie mit ihrem vollen, leuchtenden, farbenreichen Sopran sehr schön darbot. Martina Bogner• Online Merker |
Crítica: 'Triunfo De Gilda'. 'Rigoletto' En El Teatro Real, Con Salsi, Oropesa Y Demuro • Dec. 11, 2015 Notable la encarnación de Lisette Oropesa, una voz de lírico-ligera con cuerpo, impecablemente proyectada, bien colocada y correctamente apoyada sobre el aire. Buena la coloratura como pudo comprobarse en una brillante interpretación del “Caro nome” culminada por un trino largo y de buena factura. Estupendo también fue el mi bemol del final de la vendetta. Cierto es que el timbre no es especialmente bello ni singular y que a alguno de los filados que prodigó le faltó un punto de firmeza y posición, pero estamos, sin duda, ante una soprano con los papeles en regla, con control sobre su instrumento, sobre la intensidad del sonido, la respiración y los resortes del canto. Eso sí, en el aspecto interpretativo no es un prodigio de expresividad. Raúl Chamorro Mena• Codalario |
“RIGOLETTO” AL TEATRO REAL DI MADRID • Dec. 15, 2015 Il vibrato della statunitense Lisette Oropesa fa sì che la sua voce di soprano leggero sia sempre percorsa di una pregevole vivacità; la tecnica vocale compiutissima, la grazia nel porgere, la precisione nei vocalizzi ne fanno un’interprete perfetta del carattere di Gilda: «Caro nome che il mio cor» è la pagina meglio riuscita della recita, soprattutto per l’emissione di trilli purissimi e perlacei, ma si può ricordare almeno l’attacco di «Tutte le feste al tempio», capolavoro di controllo dell’emissione e della mezza voce. L’unico difetto della Oropesa è un piccolo sfasamento di timbro tra le note di passaggio e il registro acuto, il cui colore è un poco sbiadito rispetto al resto; ma si tratta di una minuzia, e infatti il pubblico la acclama alla fine di ogni scena. Michele Curnis• GB Opera Magazine |
It warms my heart to remember, that for so many, we ARE the holidays. We have the gift of music, which echoes the glory of the divine spirit. No matter what your beliefs are, we can all speak the same language of music, and somehow our understanding goes beyond the material and the immediate. As I focus my energies on sharing this with the world, I’ll be comforted in the fact that although it is work, it is the greatest blessing. |
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